Interview by HUGH BARTON

Welcome to the world of Imogen Richmond ‘IMOGEN’, a trailblazer in London’s electronic music scene. In a candid interview with Hugh Barton for Numero Netherlands, IMOGEN shares her journey from launching her record label, WIGS, to collaborating with industry giants like DJ Stingray 313 and Helena Hauff. Uncovering the inspirations behind her eclectic blend of techno, electro, and breaks, IMOGEN opens up about overcoming imposter syndrome, staying true to her vision and process, and navigating the music industry.

HUGH
First off, congrats on your recent EP release on Steel City Dance Discs and the launch of your label, WIGS. How did you come up with the name for the label, and what was the journey like in getting it off the ground?

IMOGEN
The name ‘WIGS’ actually came from my mum. Literally, as soon as I came out, I had this big, black, full head of hair, and then it went ginger, and it was just like crazy hair. I had a ton of hair when I was born, and she would call me ‘Wigs.’ When I decided to start a label, I thought the name had multiple meanings and sounded catchy. It also tied into our branding for the parties, like the ginger figure on the orange wine merch I made. It just worked.

HUGH
What were the other meanings?

IMOGEN
It was mainly inspired by my childhood nickname, but as we do parties it also fits with the idea of ,’wigging out’, like tripping. My mum, despite not having red hair, has always been supportive of my music. She’s a big reason why I got into music in the first place. She’s like my second brain. It’s good to have constant advice and criticism from the person who knows you the most. It felt fitting.

HUGH
Your launch party featured collaborations with some heavy hitters like DJ Stingray 313, Ben Pest, DJ Plant Texture, and Jerome Hill. How did these collaborations come about, and what do they mean for the WIGS community?

IMOGEN
I wanted the first release to make a big imprint and showcase different sounds. Collaborating with these artists was a natural choice. I’ve known DJ Stingray for a while, and we hit it off in the studio. Ben Pest, who was actually my teacher in music school, is now such a good friend and a favourite collaborator of mine. DJ Plant Texture and Jerome Hill are legends; having them on board was fantastic. Admittedly, the release ended up being all guys, which wasn’t intentional, but the next release features all women, and I am throwing a Wigs party on International Womens Day at Tresor.

HUGH
Do you think the gender mix matters?

IMOGEN
It wasn’t an ideal scenario to start with an all-male line-up, but musically, it worked out. As a woman, I understand the importance of diversity and navigating the industry’s complexities. However, I also believe in supporting the community in various ways, like organising diverse line-ups and hosting production workshops, which Wigs has provided before. So, while I initially criticised myself for the imbalance, I’m satisfied with how it turned out. I wanted the music to fit, too, and this is how it ended up.

HUGH
More about the music and the community you’re building?

IMOGEN
Exactly.

HUGH
Your musical style spans a variety of techno, electro and breaks. How do you balance your influences with creating something uniquely your own?

IMOGEN
I find it hard to create something like someone else or emulate other styles. My creativity thrives when I’m making music because I want to, not because I feel like I have to. So, my productions tend to be original because they reflect my genuine inspiration and emotions. My aim is to make it better than the last release, which I find the better I get at production, technically, the harder it is, the better you are technically, can hinder your creativity. I guess my first EP was probably my favourite because I was just like, fuck it. This sounds like a track.

HUGH
That’s a powerful approach.

IMOGEN
Honestly, I’m not a perfectionist. I believe in getting the music out there and letting it speak for itself. It’s one thing I’ve realised, and I’m just running with it and using it in my stride now because it has got me where I am now. Just get it out, and if one person doesn’t like it, someone else will.

HUGH
Do you ever feel that you need to play tracks that people come to see you for?

IMOGEN
The OG fans who come to see me play always want to hear my productions, which I love to do and test my material on these amazing sound systems. However, at big festivals, I tend to play a slightly more accessible set, still playing tracks I love, but I won’t feature as much of my music. I definitely have bangers from other producers in my collection that people come to hear in my sets, like the DJ Plant Texture track on my label, which blew up.

HUGH
Absolutely. Maintaining authenticity, especially during those big moments, is crucial.

HUGH
Imposter syndrome is common among artists. How do you overcome moments of doubt and stay true to your unique vision in a competitive industry?

IMOGEN
When I was younger, imposter syndrome weighed heavily on me. Looking back, I realise my understanding of the industry was limited, and maybe opportunities came too soon. I felt like a puppet, unsure of my place, despite putting in the work behind closed doors. Only recently have I begun to feel deserving of my place. It’s a reminder that hard work deserves recognition. You’ve got to own it and know you’re exactly where you’re supposed to be. I think it’s natural to have imposter syndrome when you start, but you’re also just trying to navigate your way into it. Surrounding myself with the right people and focusing on what I enjoy has helped me overcome those doubts. What I’ve realised this past year is that having the right team around you is super important, and quality over quantity is the best way to protect your authenticity and mental health.

HUGH
Solid advice.

IMOGEN
Thanks. It’s all about finding your path and staying true to yourself.

HUGH
So, playing alongside one of your idols, Helena Hauff, first on your show and then at a festival, must be pretty wild. How did that all come together, and what are you most looking forward to about it?

IMOGEN
It’s surreal, honestly! Everything with Helena started organically. She began playing my records, which was a huge honour. So, I figured, why not reach out and see if she’s up for a B2B session on my NTS show? To my surprise, she was totally down for it! We hit it off in the studio, just vibing together. Then, we got booked for this festival gig out of the blue. The thought of being up there with Helena, playing whatever we want to this huge crowd—it’s a dream.

HUGH
Exciting! What’s the plan for your set?

IMOGEN
We haven’t planned the set together, so to speak, but Helena is known for her eclectic sets, which gives me a chance to dive into my fat breaks and electro collection. It will be sick to play this kind of stuff, as I usually find myself swaying more techno-oriented on the big stages. Either way, it’s going to be full of bangers, and I can’t wait to see the dynamic between us and how that translates to the dance floor.

HUGH
Do you rely on unreleased tracks and the records in your bag when it comes to your DJ sets?

IMOGEN
Both! Usually, the unreleased stuff is on my USB’s, and then my vinyls are like older techno and electro. I’m not really a Discogs person. I just prefer going into shops and finding older stuff unless there’s something I really want on wax to reminisce over when I’m old! Recently, I’ve been sourcing from local collectors. I love that the vinyl culture is going strong, and I was really happy to see all the different places where my first release ended up.

HUGH
Do you see having a record label more as a passion project than a money-maker?

IMOGEN
Absolutely. Running a record label is a luxury. It’s about curating something tangible rather than making money. It’s just rewarding to see people enjoy the music.

HUGH
Can you walk us through your creative process when working on a new track? How do you balance experimentation with maintaining a signature sound?

IMOGEN
My sound comes a lot from experimentation. There are certain elements that I know I’ll use, like specific saturations and modules in my modular setup, but a big part of it is the exploration and discovery process. I’ve learned a lot about resampling with hardware, particularly from Ben. Initially, during the experimentation phase, I recorded a lot of different bits from my modular and other hardware. Then, piecing it all together afterwards is what gives me my signature sound.

HUGH
And how do you approach piecing it together?

IMOGEN
Arrangement has always been one of my strengths. I’m a sucker for an epic breakdown, which might stem from my experience as a DJ. After recording various elements, I’ll process them using the VST’s and effects I prefer. I have always made a bulk of the music for all my previous releases and then sent it off for demos. However, things are starting to change with labels now approaching me for the releases. As flattering as it is, I find it can hinder my flow and experimentation process, so I am still adapting to this.

HUGH
It’s interesting how you describe this artistic struggle, which many artists face, between submissions and commissions. How do you navigate that?

IMOGEN
Absolutely. It’s a balancing act. Different labels’ sounds have an influence on the direction I take the musically if the release is pre-planned. Maintaining creativity while aligning with the label’s expectations can be daunting but an exciting challenge.

HUGH
It seems like you’re drawing from your experiences, including the initial release where the all-male line-up fit a particular mould. Are you learning from those experiences as you work on your own records?

IMOGEN
Definitely, take DJ Plant Texture’s track on the WiGS release, for instance. It was added last and became a standout, although it posed challenges for me regarding diversity on the release. But, it taught me the importance of following what feels right, even if it deviates from the expected norms. Cohesion is crucial, especially for EP releases where each track needs to complement the others.

HUGH
Absolutely. Vinyl releases particularly emphasise that curated experience. Do you have any specific rituals or environments that inspire your creative workflow?

IMOGEN
Ironically, I don’t have any set rituals. Finding time to sit down in between touring to create feels like a win for me. Although I’ve been enjoying these teas lately with little quotes on them — they’re surprisingly motivating.

HUGH
What do the quotes say?

IMOGEN
I had a good one yesterday actually. It said, “Enjoy where you are now and focus on where you want to be.” It’s a friendly reminder to appreciate the present while striving for the future.

HUGH
Sounds like a perfect fit for our discussion. Have you found specific environments more conducive to your creative process?

IMOGEN
Definitely. I was like, “This one’s going on the fridge!” While I currently have a home studio, I’ve found that working in a studio with new hardware can be incredibly inspiring. There’s something about the change of scenery and access to different tools that enhances the creative process and constantly evolves my sound.

HUGH
Speaking of changes, there have been increased discussions about representative agencies and their impact on artists. Have you faced any challenges navigating these dynamics?

IMOGEN
Everything so far has been a massive learning curve for me. Starting out with little experience and getting signed to a big agency when I was young ended up presenting its own set of challenges. Now, I place more importance on aligning with individuals who share my values, whether it’s agents, managers, or collaborators.

HUGH
And with that kind of learning curve, do you feel better prepared to empower emerging artists within your label?

IMOGEN
Absolutely. I’ve become stronger through my experiences and am committed to ensuring others don’t face the same challenges I did. Creating an environment that fosters creativity and inclusivity is essential to me. I can’t wait to share WIGS002; it does exactly that.

HUGH
London seems like your home. How does the city influence your creative process or inspire your music?

IMOGEN
I moved to London at 16 years old to study music production. Before that, even though I loved electronic music, I had no one to share my passion with. When I moved to London, I met my best friends, discovered a whole new realm of different music styles as well and started to create my own music. Moving here was the best thing I have ever done. Of course, London can be super tough. It’s expensive, pretty bleak at times, and it takes a long time to settle in. But I think it has this great energy which inspires my sound so much, and England even more so. I love breakbeats, old rave sounds, and acid which this country carries such a dense history for.

HUGH
What advice would you offer emerging artists navigating challenges in the industry?

IMOGEN
I’d say be as authentic as you can. It takes vulnerability, but it’s worth it. Don’t be afraid to reach out to people. For instance, when I started my radio show, I approached everyone, including Helena. Having the courage to ask is crucial because you won’t receive it if you don’t. People are often more willing to help than you might think. It’s important to learn as you go but also to have a sense of who you want to be and where you want to go. Otherwise, those who’ve been in the industry for a while can easily sway you if you’re unsure of yourself.

HUGH
Words of wisdom indeed. Thanks for sharing your insights with us! Before we wrap up, could you tell us more about your upcoming single and what listeners can expect from it?

IMOGEN
Absolutely! My upcoming single is titled ‘SHOUTOUT 2 LDN’, and I’m really excited about it. It’s a heavy breaks track with an epic extended breakdown and a “gabberesque” vibe to the drums without falling into this cringey hard techno sound. I sampled the legend Alex Peace from one of my first harder techno records with Jamie Bissmire, and the MC at the beginning screams ‘Shoutout To London’. I knew from the first time I played it out that I wanted to make my own take on the record, and I am super happy with how it turned out. I also sent it to Jamie Bissmire to check my use of the sample as I wanted to do them justice, and he was super down with it, which was cool as he is a huge inspiration to me! I love the zero fucks approach they have with that record. It was essential for ‘SHOUTOUT 2 LDN’ to have the same vibe. The cover and the rest of these photos were taken by a very talented friend of mine, Cian Wood. I love working with my friends as everything is way more natural, and I wanted this shoot to be just that. As much as I hate the patriarchy, we tried to get some iconic photos around London landmarks while still having an edge to them, and Cian has captured that perfectly. My graphic designer Ringalie Demstye, added the finishing touches to bring this to life and make it resonate with all the other sick work for Wigs that she does.

HUGH
They really did. Do you have a release date?

IMOGEN
Late spring! With rest of the EP following up shortly after.

IMOGEN
Ok! I’m going to go for a run in the minus five weather — gotta stay active! It was great catching up with you!

HUGH
Likewise! Enjoy your run!

TEAM CREDITS:
talent IMOGEN RICHMOND @imogenrd
photographer CIAN MAC COLLIE @ciannwwood
creative director and interview HUGH BARTON @hughbarton_
editor PATRICK BOYLE @patrickboyl